View all Part time Masters Programs in Composition in England United Kingdom 2017

A masters is awarded to students who have completed postgraduate level study in a specific field of study or area of professional practice while demonstrating a high level of mastery during the process.

Composition as an academic subject focuses on the creation and arrangement of original musical scores. Choosing to study composition may help lead scholars to employment in the theater arts as stage producers, in academia as music teachers or professors, or as music publishers or critics.

UK, United Kingdom is more than 300 years old and comprises four constituent nations: England, Scotland, Wales, and Northern Ireland. The UK has been a centre of learning for the past 1,000 years and possesses many ancient and distinguished universities. Foreign students make up a significant proportion of the student body at UK universities.

England is the largest of the four "home nations" that make up the United Kingdom. It is also the most populous of the four with almost 52 million inhabitants (roughly 84% of the total population of the UK).

Request Information Part time Masters Degrees in Composition in England in United Kingdom 2017

Study type

Study type

Part time

Pace

NFTS - National Film and Television School

Campus2 yearsAugust 2017United KingdomLondon

The components of the soundtrack – dialogue, atmospheres, Foleys, ADR, designed fx and music – are explored in detail using facilities rivalling those of the best audio post-production houses. With a firm emphasis on storytelling, students develop an aesthetic awareness integrated with technical expertise, encouraging them to be collaborators from an early stage in all productions and throughout the whole post-production process...
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Part time Masters in Composition in England in United Kingdom. Sound Design for Film and TV
The components of the soundtrack – dialogue, atmospheres, Foleys, ADR, designed fx and music – are explored in detail using facilities rivalling those of the best audio post-production houses. With a firm emphasis on storytelling, students develop an aesthetic awareness integrated with technical expertise, encouraging them to be collaborators from an early stage in all productions and throughout the whole post-production process.
In 2011, an NFTS student won the Verna Fields Award for Best Sound Editing in the student category of the US Motion Picture Sound Editors Golden Reel Awards. This is the ninth time a graduating NFTS student has won this award in the last fourteen years and, together with the demand for new graduates, demonstrates the esteem with which this course is regarded within the film and television industry.
TUTORS
Head of Post Production is Award-winning Re-Recording Mixer Dean Humphreys, who has worked with many of the world's leading directors, including Roman Polanski, Ridley Scott, Luc Besson, Bernardo Bertolucci and Franco Zeffirelli. Dean has also been the Sound Supervisor or Re-Recording mixer for major television series such as Kingdom (Stephen Fry) and Primeval, in addition to films including The Pianist (for which he won a César award), Interview With The Vampire, The Ghost Writer and Donnie Brasco.
Other tutors include Graham Hartstone (Aliens, Eyes Wide Shut, Die Another Day, The World is Not Enough), Paul Davies (We Need to Talk About Kevin, The Queen), Andy Kennedy (Game of Thrones, Sherlock Holmes, Harry Potter and the Half-Blood Prince), Adrian Rhodes (The Hollow Crown, Aardman's Pirates!, the Wallace and Gromit films) and Ian Morgan (Vinyl, North and South, Alien vs Predator).
ALUMNI
Sound Designers Adrian Rhodes (The Queen, Wallace & Gromit: The Curse of the Were-Rabbit), Martin Jensen (The King's Speech, Atonement, The Fades), Paul Davies (We Need to Talk About Kevin, Hunger, The Queen), Miriam Ludbrook (The League of Gentlemen's Apocalypse, Sugar Rush), Stuart Hilliker (Jane Eyre, State of Play) and Lydia Andrew (Audio Director, Electronic Arts) studied at the NFTS.
CURRICULUM
The course represents a steady progression beginning with the basic technology and skills that underpin and support the creative process and ending with the responsibility for sound design on a range of graduation films. At each stage additional skills are added through specific workshops - e.g. music recording, to provide a comprehensive education that is of great value in understanding and communicating with other industry professionals.
Using the latest equipment and technology, students work as sound designers on fiction, documentary and animation projects developing their skills in digital tracklaying and mixing.
YEAR ONE
A series of exercises focusing on sound editing and mixing techniques Workshops with Editing and Composing students:
Abstract Film Workshop
Without Images - a sound-only project
Dramaturgy Workshop - focusing on script and script analysis, blocking and cover, and performance
Editing the Scene - editing a scene to learn the basics of scene structure
Short documentary - sound mixing
Zen and Beyond - fiction workshop focusing on visual storytelling
Documentary Poetry - exploring the use of non- synchronous sound and music
Animation projects - the application of music and sound effects
1st year Fiction film - collaborating with all other departments
Cross Spec - an introduction to film language and storytelling involving all departments
YEAR TWO
Investigative Documentary - sound post for the major 1st year Documentary production
Remixing the 1st year Fiction film tracks
Advanced editing, design and mixing techniques including surround sound mixing
2nd Year Fiction production, shot on a digital format
Graduation films in documentary, fiction and animation
On the short films and 2nd Year films, Sound Design students work as sound supervisors, creating the track from pre-production through to the mix.
Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.
ENTRY REQUIREMENTS
In the Post Production department, we are looking to assemble a group of students with diverse and varied backgrounds. There is no 'typical' student or perfect candidate who conforms to a mandatory list of qualifications. Applicants are likely to have some industry experience, or training in their chosen field. Your background may be in the arts or other media, you might be looking for a further professional qualification or wish to broaden your knowledge of sound production, taking you to a higher level of work.
Application materials must include visual materials (video or stills) with an associated soundtrack that you have constructed; and a sound montage including speech, that you have created and post-produced.
APPLY WITH
A DVD of no more than twenty minutes running time, which you have recorded and/or track laid and/or mixed. This can be from a longer work.
Those who do not have film/video experience: a narrative sequence of photographs, pictures or cartoons, with an associated speech, music and effects soundtrack recorded on audio CD, which demonstrates the way the applicant works creatively with the audio-visual relationship
A sound montage made by the applicant on audio CD of approximately 3 minutes running time. It should include speech, but should not be limited to speech.
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NFTS - National Film and Television School

Campus2 yearsAugust 2017United KingdomLondon

Today’s language of screen music has shifted. While many scores still provide a musical commentary on the action, others find a way to integrate music into the fabric of the film itself, creating a seamless weave analogous to the camerawork or editing, to the assimilation of music into the sound world of the film as a whole. Sound design and music grow ever closer - in fact, the roles of sound designer and composer are...
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Composing for Film and Television
This course commences in January each year. Our emphasis on collaboration means that Composing students are informed and involved throughout the filmmaking process. In particular, composers work closely with other students in Editing and Sound Post Production, increasing their understanding of the relationship between audio and moving images.
Today’s language of screen music has shifted. While many scores still provide a musical commentary on the action, others find a way to integrate music into the fabric of the film itself, creating a seamless weave analogous to the camerawork or editing, to the assimilation of music into the sound world of the film as a whole. Sound design and music grow ever closer - in fact, the roles of sound designer and composer are becoming blurred to the extent that a close collaboration between the two processes is often essential.
The application of music to film - the choices inherent in the "when", "how" and "why" - all stem from an informed understanding of the intention of the film and the contribution music could make to it. Informed understanding, musical versatility and the fostering of an individual musical voice are the intentions of this course and these are determined by the practical and intellectual demands on composers working in the industry.
Composing graduates are qualified to take on all forms of work in film and television as well as productions in multimedia and interactive programming.
TUTORS
Head of Post Production is Award-winning Re-Recording Mixer Dean Humphreys, who has worked with many of the world's leading directors, including Roman Polanski, Ridley Scott, Luc Besson, Bernardo Bertolucci and Franco Zeffirelli. Dean has also been the Sound Supervisor or Re-Recording mixer for major television series such as Kingdom (Stephen Fry) and Primeval, in addition to films including The Pianist (for which he won a César award), Interview With The Vampire, The Ghost Writer and Donnie Brasco.
ALUMNI
Recent graduate composing credits include Atonement which netted NFTS graduate Dario Marianelli an Oscar, Golden Globe and Ivor Novello in the Best Original Score category; Wallander, the television drama series, and feature film Endgame, both of which earned BAFTAs for Best Original Score for NFTS graduate Martin Phipps. Martin also received Emmy Award Nominations for his scores on Great Expectations and Sense and Sensibility. Composer Rob Lane also received Emmy nominations for his scores on Longford and HBO's John Adams, as well as winning a BAFTA for Elizabeth I (TV) and a nomination for Jane Eyre.
CURRICULUM
The Composing course is developmental and progressive. In year one, students are taught the techniques and contexts which inform writing music for the screen. The first term comprises an intensive process during which students compose to a variety of exercises, each one chosen to focus on a particular problem of film composition. These exercises are completed by each student and discussed in seminars and individually assessed. In term two, further exercises concentrate on issues having to do with scoring for live instruments, the combination of live and electro-acoustic elements and the integration a limited range of sound design into film scores. In addition, students will begin engaging with projects generated by other students at the NFTS. This process will continue and dominate the third term. Each student contribution to those films will also be assessed. Students will also participate in visits from industry professionals.
In year two, students’ activities will be dominated primarily by work generated from other parts of the school. However, lectures, seminars and the occasional workshop will be provided to clarify and expand issues arising from those projects. As in year 1, students will also participate in visits from industry professionals.
YEAR ONE
A series of composing workshops combining practical exercises and seminars:
Basic narrative techniques
Midi, sampling and audio
Combining music and sound
Narrative with dialogue
Non-fiction scoring
Instrumentation and orchestration
Composing to script
Improvisation
Ongoing analysis of feature film soundtracks and film structure Orchestration and recording with live musicians
Workshops with Sound Design and Editing students:
Abstract Film Workshop
Without Images - a sound-only project
Animation exercises
Dramaturgy Workshop – focusing on script and script analysis, blocking and cover, and performance
Editing the Scene - editing drama rushes to learn the basics of scene structure
Productions
Zen and Beyond - fiction workshop focusing on visual storytelling
Documentary poetry exercise collaborating with Documentary Direction, Editing and Sound Design
First Year Film – the major 1st year fiction production collaborating with all other departments
Investigative Documentary - the major first year documentary production
Cross Spec - an introduction to film language and storytelling involving all departments
YEAR TWO
Orchestration and recording with live musicians
Improvisation
Continued analysis of films
2nd year short fiction production, shot on a digital format
Co-composing a feature film Graduation films in documentary, fiction and animation
Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.
ENTRY REQUIREMENTS
The Composing MA course is part of the Post Production department, where we are looking to assemble a group of students with diverse and varied backgrounds. There is no 'typical' student or perfect candidate who conforms to a mandatory list of qualifications. You might have had some Industry experience in your chosen field, or a background in the arts or other media. You may now be looking for a further professional qualification, or wish to broaden your knowledge of composing for screen, taking you to a higher level of work.
Students normally have a degree in music but applicants with equivalent practical experience are also accepted; some composing experience is preferred. We look for composers with a strong personal style, a flexible approach and an intelligent feel for drama and narrative. Candidates should normally be able to notate the music they wish to be performed acoustically, have an understanding of the main historical styles and be able to communicate with others using non-musical terms. It is essential that applicants have a strong and demonstrable interest in film.
APPLY WITH
Application Criteria
On receipt of the application form, duly completed and signed, each applicant will be provided with a link and password to download two film clips. They will be asked to write music to each of these clips, and return their completed work as Quicktime video files with sound and music track, either as downloadable links or as DVD’s sent to the school.
On being accepted for interview by the school, the applicants will be invited to bring further material that may be of interest for examination at the discretion of the interviewers.
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Birmingham City University Faculty of Art, Design and Media

CampusPart time1 - 3 yearsSeptember 2017United KingdomBirmingham

Birmingham Conservatoire’s taught Master of Music (MMus) and Postgraduate Diploma (PgDip) courses in Music Technology provide an opportunity for composers and composer-performers to experiment with and develop expertise in the creative application of established and new music technologies. Our principal aim is to help you to develop as a music technologist within the context of a broadly-based course. We will support your professional development by equipping you with a range of specialist and transferable skills. Importantly, our postgraduate music technology courses will provide you with opportunities for collaboration with a variety of performers, conductors, composers and other music technologists as appropriate to your style.
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Key Facts

Evidenced by its two international Integra projects, Birmingham Conservatoire is an important international centre for performance and composition with technology, especially live electronics.
You will have the chance to network with leading professionals from around the world through the Conservatoire’s leading role in Integra.
Our courses include weekly individual specialist tuition with world-leading practitioners and researchers.
You will have access to cutting-edge facilities, including our 150-seat Recital Hall, customized for performance with technology, the only space of its kind in a UK conservatoire.
You will have access to regular masterclasses with distinguished visiting composers and performers.
You will have opportunities for collaboration with advanced performers and there will be frequent chances to have works performed, including by our own contemporary music ensemble, Thallein, and by other ensembles.
Our postgraduate music technology courses give you the chance to develop a distinctive musical voice within the context of a broadly based course, enhancing your employability.
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Birmingham City University Faculty of Art, Design and Media

CampusPart time1 - 3 September 2017United KingdomBirmingham

Birmingham Conservatoire is renowned for its Jazz courses, which are tailored specifically to meet the needs of developing jazz musicians. Designed for recent graduates and suitably-qualified mature students, our taught Master of Music (MMus) and Postgraduate Diploma (PgDip) courses in Jazz are designed to provide bespoke advanced-level tuition to Jazz Performers or Composers. Performance courses are built around the art of improvisation, while Composers are encouraged to develop an individual style. We also offer a PgCert programme for Jazz performers, details of which are available separately from conservatoire.admissions@bcu.ac.uk.
Key Facts
• You will receive weekly individual specialist tuition.
• All of our tutors are professional jazz musicians active on today’s scene, and our masterclass series involves coaching from major international jazz artists.
• Jazz students have regular performance and rehearsal opportunities with both small and large ensembles.
• Our postgraduate Jazz programmes provide students with the opportunity to develop a distinctive musical voice.
• We will support your professional development and enhance your employability by equipping you with a range of specialist and transferable skills.
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Entry Requirements

MMus

You should normally possess at least an Upper Second Class Honours Degree (preferably Music) with a minimum of 60% in a relevant area of your final-year work. Non-UK candidates should normally possess at least a Bachelor’s Degree or a similar degree equivalent Diploma from a conservatoire or equivalent institution. You will need to demonstrate at audition/interview that you possess appropriate skills in jazz performance / jazz composition.

PgDip

You should normally possess at least a Lower Second Class Honours Degree (preferably Music) with a minimum of 60% in a relevant area of your final-year work. Non-UK candidates should normally possess at least a Bachelor’s Degree or a similar degree equivalent Diploma from a conservatoire or equivalent institution. You will need to demonstrate at audition/interview that you possess appropriate skills in jazz performance / jazz composition....
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Recording Connection Audio School

Online & Campus CombinedPart timeSeptember 2017United KingdomStoke

With hundreds of locations across the U.S., Canada, Australia and theU.K., the Recording Connection has helped thousands of students find their way in to rewarding music industry careers by placing them as working apprentices (externs) in actual recording studios.
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Part time Masters in Composition in England in United Kingdom.
With hundreds of locations across the U.S., Canada, Australia and theU.K., the Recording Connection has helped thousands of students find their way in to rewarding music industry careers by placing them as working apprentices (externs) in actual recording studios. Each student is paired with a mentor, a successful working producer/engineer with years of experience and real album credits. We partner with hundreds of music professionals across the globe, many of whom work with Platinum-selling and Grammy-winning artists, to ensure that our students are receiving the best guidance, education and opportunities possible.
For students who have graduated from the Recording Connection Bachelor Equivalent Audio Programme (or another audio academy) and aspire to a more advanced level of learning, we are pleased to offer an advanced MASTER’S LEVEL programme to help you get there
This Master’s Programme naturally affords more on-one-one instruction with your mentor than our basic programme, and covers the following:
Advanced Pro-Tools techniques, including elastic audio, auto-tuning and more
In-depth training with plugins, compressors and other effects
Bringing a band to the studio for an actual recording session co-produced by you and your mentor
Overdubs, mixdown and mastering at the advanced level
In-depth instruction on the business side of music production
…and more!
By the time you have completed this programme, you will have a finished, mastered, professional-quality two track demo in hand, which you will be able to submit proudly to music industry professionals.
But here’s a bonus…
By maintaining a “B” equivalent average grade during your Master’s Programme, you will qualify to have your DEMO SUBMITTED BY US TO TWO INDUSTRY PROFESSIONALS ON YOUR BEHALF—one music producer and one record label executive—AT NO ADDITIONAL CHARGE!
STRAIGHT TALK ABOUT YOUR music industry CAREER:
If you’re going to be successful as a record executive, label owner or band manager, you really need to be smart and deliberate regarding your choice of music school. There are many options out there, but many schools charge far too much money and don’t offer any real connection to the music industry itself. By choosing one of these schools, you run the risk of taking on career-crushing amounts of student debt for little or no return on your investment. And for someone trying to make it in the music business, that can halt your career before it ever starts.
Don’t be that guy or girl. Don’t make the mistake of spending $25,000, $50,000 or $100,000 for a music school education that offers no real path to your future, and don’t make the even more serious mistake of taking on that kind of debt. Let’s be clear: your key to breaking into the music business doesn’t lie in a classroom with a bunch of other students, nor does it lie in some sort of online program that offers you no real feedback. Your path to success lies in the music industry itself—with the people who are actually DOING the work, who can show you the ropes and help you make your own connections.
The Recording Connection offers this opportunity with our unique music business training program. Instead of placing you in an overpriced classroom, we place you as a working apprentice (extern) with a real music industry professional who is doing the job you want to be doing. As you follow a structured course curriculum, you’ll gain lots of real-world experience as you work alongside your mentor, and you’ll learn how to make the connections you need in order to succeed (and trust us—success in this business is ALL about connections). Best of all, you’ll gain this experience, knowledge and insider access for a FRACTION of what other music schools charge, so you can graduate with little or no debt and get on with your career.
The music industry is a highly competitive field, and it’s the smart ones, the ones willing to think outside the box, who are the ones who rise to the top. For you, that begins with making choices about your education that will actually help your career without crushing you with debt. If you’re serious about beating out the competition to become a successful record executive or band manager, the Recording Connection is here to help!
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